Detroit Design Festival – Celebration of Architecture + Fashion Show

CHROMA – Bridget Sullivan Designs with RogueHAA – Photographer: Lindee Robinson – Model: Chelsey Korte – Hair/MUA: Noel Fischetti

RogueHAA’s collaboration with Bridget Sullivan, a local fashion and textile designer, produced “Chroma,” a design combining tradition and technology with hand-sewn vintage fabrics and 3D printed pieces.  “Chroma” was the finale piece of Sullivan’s latest collection, which was presented at the Detroit Design Festival’s Eastern Market After Dark.  Sullivan and HAA used impressionist color blending, the fluidity of ballet movement, and pleated fabric manipulations to merge dissimilar materials and techniques.

Sullivan and HAA collaborated from the design’s initial concept through fabrication.  They studied sewing techniques, such as smocking and pleating, which provide both rigidity and flexibility to fabric.  Printed modules emulate the flexibility and repetition of smocking and transition into pleats that receive and manipulate the fabric.

Check out more about the AIA fashion show here: Bridget Sullivan Designs

Detroit Design Festival - AIA Celebration of Architecture + Fashion Show

Detroit Design Festival – AIA Celebration of Architecture + Fashion Show


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rogueHAA unveiled its third installation for the Detroit Design Festival last month. The work’s title, ‘Mene Mene’, is an Aramaic idiom meaning ‘the writing is on the wall’ and was chosen by the group to signify the rewriting of Detroit’s often negative story into a more positive message that includes the city’s multiple voices and narratives. The installation, designed to activate an empty pocket parking lot in Detroit’s North End, was constructed with a series of grass terraces combined with blank writing walls to engaged members of the local community. “Rather than creating static object to be viewed from a distance, we wanted to create a literal platform for conversation and reflection,” says rogueHAA member, James Witherspoon. Each section of the installation included a different provocation as a means to catalyze and frame a conversation about the city.

The installation, located at 2871 E. Grand Blvd., invited the community to participate in an interactive event that was equally fun and thought-provoking. Through partnership with Let’s Save Michigan, Festival attendees were encouraged to share a meal, conversation, and ideas for placemaking in their neighborhood. Throughout the festival, visitors were encouraged to write their ideas, thoughts, challenges, and pictures on the walls of the installation. These were collected and will be curated as part of an online gallery to promote engagement with a larger audience, and longevity beyond the festival itself.

This fall, the collaborative is also planning to continue its lecture series aimed at promoting critical thought and creative dialogue in the design community. Stay tuned for details to come!


archiCULTURAL SHIFT Panel Discussion + Exhibition






Last weekend, rogueHAA was pleased to present The archiCULTURAL SHIFT, the last panel discussion in its Provocations: Challenging Detroit’s Design Discourse series. Held in the MIES Storefront at Lafayette Park, this event was part of the Detroit Creative Corridor Center’s Detroit Design Festival 2012.  ArchiCULTURAL panelists discussed how their roles, theories, and work have been affected by our society becoming increasingly information and time-centric. We would like to thank our panelists for their expertise and participation in this event: Continue reading

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pro bono publico – for the public good or well being, and more commonly understood in the world of professional services as ‘free’.

DEFINING PRO BONO.  We all understand disparities in wealth and access to professional services.  To some, these disparities compel a moral imperative to provide professional services to under-served communities.  Many architects regularly perform pro bono services for a variety of ends.  While certain firms focus on needs of the international community, such as Japanese architect Shigeru Ban and his disaster relief housing for Japan, Turkey, and India, others focus on issues specific to the United States.  Auburn University’s Rural Studio has been designing and building housing and civic buildings in rural Alabama since 1993, while Yale University has an even longer tradition of volunteering their design/build services to their local community.  While globalization has increased the reach and scope of the architect, it has also brought to the forefront the major issues that plague our societies.  A great need exists globally and locally, and architects are more capable than ever to affect change. Continue reading

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HOUSE NO. 1.  I step out of my car and glance at the address listed on my clip board.  I then compare that number to the faded house number adjacent to the front door.  It’s a match.  My partner and I glance at the neighborhood and quickly assess our surroundings.  We traverse the short front walk, step up the slightly deteriorating stoop, and ring the doorbell. It doesn’t work.  I tap my clipboard hard against the locked storm door.  I stand square with the front door, my Detroit Housing Commission badge daggling from my shirt pocket. Like standing before a metal detector at the airport, I allow a stranger to scrutinize my intensions.  I give ample time for them to complete their security check through the peephole.  As I stand there, my mind wanders.  What will I find on the other side of the door?

REHABILITATING DETROIT.  In 2009, the federal government passed the American Recovery and Reinvestment Act.  It was enacted as an economic stimulus package and immediately pumped $12.7 billion towards the modernization of the nation’s public housing.   New leadership at the Detroit Housing Commission (DHC) has earmarked $8 million toward breathing new life into a scattered sites housing program that has proven national success.   Through this capital outlay, the DHC is continuing its mission to provide quality housing for all Detroiters.  Hamilton Anderson Associates is one of four teams of architects asked to take this journey of rehabilitation with the DHC.  Our specific task is to assess the physical condition of 80 homes, but as our work continues, we realize our assessments are also about restoring the human condition. Continue reading

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PROJECT. The Criss Angel BeLIEve project has been published in the March edition of CONTRACT design magazine.  The project is a re-design of the entry sequence into the theatre at the Luxor Hotel and Casino in conjunction with the debut of the newest permanent Cirque du Soleil show, Criss Angel BeLIEve.  Its opening in September 2008 provided a sneak-peak into the major renovations that will occur at The Luxor through 2009.  The 2.1M project began in October 2007 and opened for the public in October 2008.  Project scope includes a Box Office & Retail space of 6000 square feet and Bar/Lounge of 14,500 square feet.

CONCEPT. By reflecting the enigmatic characters of Criss Angel and Cirque du Soleil, the architect’s call to action was to redesign the Box Office, Entrance, Retail Space and Theatre Bar/Lounge for the new dramatic experience.  This scope allowed a concept which considers the emotional mind-set of the audience as it approaches, spatially and temporally, the theatrical event.  The narrative of BeLIEve parallels Lewis Carroll’s classic literary work, “Through the Looking Glass,” as both pieces follow a protagonist’s journey into a whimsically absurd alternate reality.  In each piece, access to this other world is gained only through a very specific, yet different, threshold; one tangible (the looking glass), one experiential (an accident induced dream). Thresholds between levels of certainty, as literary premise inspired the architect to consider a similar perception when designing the tangible space of (sub)conscious journey.  The architectural realization of this journey provides a sequence of spatial thresholds (stages) through which BeLIEvers are slowly submerged.  Passing through each stage means passing into progressive levels of engagement with the artist’s warped perception, the ultimate destination. Continue reading

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